Originally designed for the "Organic Design in Home Furnishings" competition held by the Museum of Modern Art, Eames and Saarinen created a variety of versions of the Organic Chair each intended for a different sitting position. The designs were ahead of their time but the Organic Chair never went into production due to a lack in technology. Not until after 1950 was it possible to produce and distribute large numbers of organically molded seat shells.

Now over 70 years since it was originally designed, the Organic Chair continues to make it's way into modern interiors everywhere. The Organic Highback Chair was designed with black beech legs and a supportive high backrest that makes a comfortable place to lounge or seat guests. The Highback version offers added benefits such as extra neck support and a broader seat, while the Standard and Conference versions are purposefully designed to suit a range of modern day needs.

Available in a variety of colors.

Dimensions

42.25" H x 33.5" W x 31" D

Material(s)
Laminate, polyurethane foam upholstery, beech wood

Item Number
VIT-ORGANIC-HIGHBACK-CHAIR

Model(s) 210-009-00-04 210-009-00-05 210-009-00-06

Design by Charles Eames & Eero Saarinen, 1940.

Originally designed for the "Organic Design in Home Furnishings" competition held by the Museum of Modern Art, Eames and Saarinen created a variety of versions of the Organic Chair each intended for a different sitting position. The designs were ahead of their time but the Organic Chair never went into production due to a lack in technology. Not until after 1950 was it possible to produce and distribute large numbers of organically molded seat shells.

Now over 70 years since it was originally designed, the Organic Chair continues to make it's way into modern interiors everywhere. The Organic Highback Chair was designed with black beech legs and a supportive high backrest that makes a comfortable place to lounge or seat guests. The Highback version offers added benefits such as extra neck support and a broader seat, while the Standard and Conference versions are purposefully designed to suit a range of modern day needs.

Available in a variety of colors.

Vitra

Vitra has manufactured furniture designs by Charles & Ray Eames and George Nelson since 1957. Building on this foundation, Vitra has developed a wide range of furnishings for the office, for the home and for public spaces in collaboration with progressive designers. Yet Vitra is more than just a design-oriented manufacturing company. The name also stands for the Vitra Design Museum, for a collection of modern furniture and its accompanying archive, for workshops and publications on topics of design, and for an architectural concept that unites buildings by Frank Gehry, Nicholas Grimshaw, Zaha Hadid, Tadao Ando, Alvaro Siza, Herzog & de Meuron and SANAA at the Vitra Headquarters in Birsfelden (Switzerland) and on the Vitra Campus in Weil am Rhein (Germany).

Product longevity is central to Vitra's contribution to sustainable development; short-lived styling is avoided at all costs. This can be seen most clearly in the classical pieces of furniture that have been used for decades, had several owners and have then even ended up as a part of a collection. For Vitra, the manufacture of sustainable products means intense pre-production development, where the highest-grade materials are selected and tests are carried out that simulate 15 years of use. In order to enforce and monitor sustainable development in all business activities of the company, a work group was formed in 1986 by the name of 'Vitra and the Environment'. Because of this, Vitra can proudly claim that it has been dedicated to sustainability for nearly a quarter of a century.

With a grand sense of adventure, Charles and Ray Eames turned their curiosity and boundless enthusiasm into creations that established them as a truly great husband-and-wife design team. Their unique synergy led to a whole new look in furniture. Lean and modern. Playful and functional. Sleek, sophisticated, and beautifully simple. That was and is the "Eames look."

That look and their relationship with Herman Miller started with molded plywood chairs in the late 1940s and includes the world-renowned Eames lounge chair, now in the permanent collection of the Museum of Modern Art in New York.

In addition to his professional career, Mark has been an industrial design professor at Pratt Institute for 14 years. In his graduate furniture design class, students are responsible for the ideation, design, and execution of an actual piece of furniture. The emphasis of the course is to encourage students to develop their own individual point of view.

The son of architect and Cranbrook Academy of Art director Eliel Saarinen and his wife, textile artist Loja, Eero Saarinen studied sculpture in Paris and architecture at Yale before working on furniture design with Norman Bel Geddes and practicing architecture with his father. He collaborated on several projects in furniture design with his friend, Cranbrook alumnus Charles Eames, and opened his own practice in Bloomfield Hills in 1950. Among the many buildings for which he is known are the Dulles International Airport in Washington, DC, The Gateway Arch in St. Louis, Missouri, and the TWA Terminal at Kennedy International Airport in New York. He was the recipient of numerous awards and the subject of many exhibitions.

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